GodariOne note apart
- Deepakam uses Antara Gandharam (G3), which Godari does not.
Carnatic raga
Deepakam
A janya (derived) raga of melakarta 51 Panthuvarali. It takes its notes from that parent scale, using the ascent and descent shown here.
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- Melakarta
- 51 Panthuvarali (janya)
- Jati
- Audava–Sampurna
- Notes
- 8 of 12
- Movement
- Vakra (zig-zag)
- Time
- Any time
- Rasa
- Varied
Your guide to Deepakam
New to classical music — moods, stories, film songs and simple listening.
Start listening
Press play to hear the notes of Deepakam, rising then falling.
Its mood
Varied. Traditionally heard at any time.
Film songs you may know ↓New to classical music?
Deepakam, explained simply
Think of a raga as more than a scale: a set of rules and a personality. Deepakam has its own notes, its own favourite phrases, its own time of day and its own mood, the way a person has a recognisable voice and way of talking.
How it feels
Deepakam sounds mostly bright, with a few shadowed notes that add a bittersweet tint. Its emotional colour is a character all its own. Traditionally it can be performed at any hour, because Indian musicians believe each raga matches the feeling of a certain hour or season.
How to recognise it
- It uses tivra (sharp) Ma, a note a little higher than you'd expect. It gives the music a lifting, yearning quality, as if it's leaning upward.
- It uses komal (flat) Re, the note just above the home note. Sliding off Sa onto this very close note creates tension right at the start of phrases.
- The melody goes up with 5 notes but comes down with 7, so the climb and the descent sound noticeably different.
- The melody zig-zags instead of climbing straight up a ladder. It takes little turns and steps back before moving on, which gives it a winding, conversational shape.
Its beauty
A janya (derived) raga of melakarta 51 Panthuvarali. It takes its notes from that parent scale, using the ascent and descent shown here. The beauty of Deepakam comes from patience: a good performer doesn't rush through the scale but lingers, bending into notes and letting each phrase breathe, so the mood builds slowly until it fills the room.
What makes it different
- In Carnatic music, notes are rarely held still. They wobble, slide and bend (called gamakas), and those shakes are as much a part of the raga's identity as the notes themselves.
Listening exercise: Try this: press "Full scale" above, then open one of the recordings below. In the first few minutes, see if you can hear the melody circling back to Sa. Once you catch it, you've started to recognise Deepakam.
History & evolution
Deepakam is a janya (derived) raga, drawing its notes from its parent melakarta. Janya ragas often existed long before the melakarta system and were later fitted into it.
The Carnatic Trinity of the 18th–19th centuries (Tyagaraja, Muthuswami Dikshitar and Syama Sastri) gave lasting shape to most popular ragas through their compositions. Their kritis remain the standard reference for how each raga should move.
Looking for more history…
Scale
Arohana (ascent) · 5 notes
S R2 M2 P D1 P S'
- Devanagari
- स रि₂ म₂ प ध₁ प स•
- Tamil
- ஸ ரி₂ ம₂ ப த₁ ப ஸ•
- Telugu
- స రి₂ మ₂ ప ద₁ ప స•
- Kannada
- ಸ ರಿ₂ ಮ₂ ಪ ದ₁ ಪ ಸ•
Avarohana (descent) · 7 notes
S' N3 D1 N3 P M2 G3 R1 S
- Devanagari
- स• नि₃ ध₁ नि₃ प म₂ ग₃ रि₁ स
- Tamil
- ஸ• நி₃ த₁ நி₃ ப ம₂ க₃ ரி₁ ஸ
- Telugu
- స• ని₃ ద₁ ని₃ ప మ₂ గ₃ రి₁ స
- Kannada
- ಸ• ನಿ₃ ದ₁ ನಿ₃ ಪ ಮ₂ ಗ₃ ರಿ₁ ಸ
Synthesised with Sa = A3. A real performance uses gamakas, meends and phrasing that a bare scale can't capture.
Notes on the octave
S
C
r
C#
R
D
g
D#
G
E
M
F
M#
F#
P
G
d
G#
D
A
n
A#
N
B
| Swara | Interval from Sa | Western (Sa = C) |
|---|---|---|
| Shadjam | Unison | C |
| Shuddha Rishabham (R1) | Minor 2nd | C# |
| Chatushruti Rishabham (R2) / Shuddha Gandharam (G1) | Major 2nd | D |
| Antara Gandharam (G3) | Major 3rd | E |
| Prati Madhyamam (M2) | Augmented 4th | F# |
| Panchamam | Perfect 5th | G |
| Shuddha Dhaivatam (D1) | Minor 6th | G# |
| Kakali Nishadam (N3) | Major 7th | B |
Character
Jati (Audava–Sampurna). The ascent uses 5 distinct notes and the descent 7. Audava = 5, Shadava = 6, Sampurna = 7.
Vakra (zig-zag) movement. The scale doubles back on itself, so phrases have to follow its characteristic turns, not run straight up or down.
Parent scale. Melakarta 51 sits in chakra 9 of 12 and uses prati madhyamam (M2). Deepakam is a janya (derived) raga, drawing its notes from this parent.
Time (Any time). Not tied to a particular time; often placed by convention at a set point in a concert.
Listen
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
Vocal
Flute (Venu)
Veena
Violin
Nadaswaram
Why this time of day?
Deepakam is associated with: Any time.
- In Carnatic music, the time of day is a gentle custom rather than a strict rule. Most ragas can be sung at any concert, and the time linked to a raga usually comes from temple rituals and old practice.
- Deepakam has no fixed time and is sung freely in concerts.
Close ragas & how they differ
Ragas that sound most like Deepakam, and how to tell them apart.
adhi PanchamaOne note apart
- Deepakam uses Chatushruti Rishabham (R2), which adhi Panchama does not.
MaruthiOne note apart
- Deepakam uses Chatushruti Rishabham (R2), which Maruthi does not.
PrathapaOne note apart
- Deepakam uses Chatushruti Rishabham (R2), which Prathapa does not.
VaraliOne note apart
- Deepakam uses Antara Gandharam (G3), which Varali does not.
- Deepakam uses a different number of notes going up than coming down; the other is more symmetrical.
- They belong to different times: Deepakam is sung in the any time, Varali in the evening.
- Mood: Deepakam leans varied, Varali leans karuna.
JhalavaraliOne note apart
- Deepakam uses Antara Gandharam (G3), which Jhalavarali does not.
- Deepakam uses a different number of notes going up than coming down; the other is more symmetrical.
- Mood: Deepakam leans varied, Jhalavarali leans varies.
Other ragas from 51 Panthuvarali
Kashiramakriya · CarnaticMandari · Carnaticadhi Panchama · CarnaticBhogavasantha · CarnaticGamakapriya · CarnaticGamanapriya · CarnaticHamsanarayani · CarnaticIndumathi · CarnaticKamalaptapriya · CarnaticKumudhakriya · CarnaticMaruthi · CarnaticPonni · CarnaticPrathapa · CarnaticTandavapriya · Carnatic
Film songs in this raga
Bollywood (Hindi)
No well-known Hindi film song is confidently attributed to this raga yet.
Other Indian films (Tamil, Telugu, Malayalam, Kannada, Bengali, Marathi)
No regional film song is confidently attributed to this raga yet.
Top Bollywood songTop Tamil songTop Telugu songTop Malayalam songTop Kannada songTop Bengali songTop Marathi song
Film songs often take liberties with a raga, so treat these as "based on" rather than strict renditions.
Discussion
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Notation: Hindustani komal notes are lowercase (r g d n), M# = tivra Ma, ' = upper octave. Carnatic numbers mark swara variants (R1, G3, …).